Sunday, 28 April 2013

We're not ones to make a big deal out of numerical milestones here at Hedmuk, although there have been a few that have been noted quietly, but since first speaking with Distance about the possibility of having him contribute an interview and mix to our exclusive series we thought it might be worth holding out until we hit our half century. We're not really ones for looking backwards either, and a(n ironic) quick glance back over the forty-nine artists whose contributions precede this one is testament to the future-facing approach that Hedmuk is, and has always been, about.

Of course it's fitting, then, that we be able to talk with a producer who has, since first sitting down in front of a sequencer or - further back - picking up a guitar, been firmly focussed on what lies ahead and how he can bring a bit of himself to it. Being at the forefront of the dubstep scene since its very earliest beginnings wasn't anything to do with luck or 'right place, right time' or any of the other cliches: what really held the sound's pioneers together was exactly the fact that they were all pioneers, all looking to do something new and all bringing their own individual edge to it. Mary Anne Hobbs' legendary Dubstep Warz show was two hours of purely innovative music, and would arguably have been notably less so without the contribution of Distance (or any other of the individuals involved): such was the balance, tension even, that kept things fresh and continually moving forwards. 'This show will change your life', the ident claimed, and it was certainly no flash in electronic music's pan; things may have changed a lot since then, but what hasn't is Distance's dedication to pushing a sound, through his own productions and through the music he releases on his own Chestplate imprint, that he can believe in...

Hedmuk: To introduce yourself, what's you name, where do you hail from and how would describe your sound?

H: Your interest in heavy metal, and its visible influence on your music, has been fairly well documented; but what was it that drew you over to a more electronic-based approach to writing music? How far do you feel that this more distinct musical background aided you in developing a unique sound within the 140 spectrum?

D: Well during my later teens I started to listen to the electronic artists such as The Prodigy, Aphex Twin and Portishead aswell as many others, but dance music had always been around me I just hadn't paid a lot of attention to it: my main focus was metal. Some of the bands I listened to started to include drum machines and samplers in their tracks and that's what probably sparked my original interest. During college I met a lot of new people who were into completely different styles of music to me and that's when I really began to take notice of underground dance music such as UKG, drum & bass and even some more commercial stuff. I became a massive DJ EZ fan and would always check his show on Kiss FM, but over time I noticed a darker sound slowly creeping into UKG: something which really grabbed me and it reminded of the dark energy and emotion I felt from metal. This dark UKG music became dubstep. That's cutting the story very short, but for me that is where it all started: it was at a time when I would mix Todd Edwards into Pulse X into Wookie then into something ridiculous like a Misteeq remix(laughs).

I think metal music definitely influenced my production; if you listen to my earlier stuff the drum arrangments were crazy: so many drum rolls and edits - something which I'm looking to go back to, actually. I was also one of the first people to be using distorted basses in tracks and this was because of my love for distorted guitars; it was natural for me because I had already been playing guitar for years so as soon as I created a synth sound or bass it was only natural for me to think 'well I might as well add distortion and why not a flanger', and that's how my experimentation with sound design really began: by processing my sounds as though I was putting a guitar through a multi-effects unit.

H: Both of your albums were released in fairly quick succession, and were key in establishing you as a major player with a unique sound: can you see yourself writing another album at any point in the near future?

D: I've been starting my 3rd album for the last 3 years! (laughs) But I keep getting involved in other projects, I will be properly starting it soon. I have tracks which are unfinished which I know will be album material: everytime I write something new and it doesn't really fit within a scene's template I keep it in a special folder (laughs). It will be much more experimental them my last 2, and it has to stand up to them.

H: You mentioned recently the possibility of a Deleted Scenes album, alongside Pinch: how likely is it that such an album will be released?

D: It's very likely! We've been talking about it for years and what was just us basically doodling is slowly developing into something very unique and exciting. Whether or not we make dubstep, you will have to wait and see.

H: With many of the names alongside whom you were instrumental in pushing dubstep now taking the tempo down a few notches, working and experimenting particularly around the 130bpm mark, have you been moved to try your hand with different tempos and styles?

H: You've always been known to engage with your fanbase, most notably perhaps through your video tutorials. How important is it to you that that relationship between artist and fan is maintained?

D: I think it's very important. In regards to the tutorials, I've seen so many people just post bullshit which doesnt relate to anything: 'How to make Skrillex basslines', 'How to make Noisia basslines' ..... FUCK OFF! None of the people making those tutorials can make anything close to what these artists can, it cracks me up. I would rather show people the basics so they can go away and create their own sounds. Part of the reason dubstep has now become so over-saturated is because everyone has access to Youtube and rather than spend the time and produce a stem of creativity they would rather copy what some prick is doing on Youtube. It's all to easy. I spend days even weeks creating new sounds.

H: You seemed to step things up with Chestplate in a big way in 2012, with regular releases from new signings, residencies at Fabric and 1Xtra, with the Daily Dose series. What made you decide to redirect the bulk of your energies towards the label rather than your own solo output?

D: It just felt like the right time: I was getting hit up to do so many remixes plus other things, so first of all I wanted to make sure the label was still putting out material, and secondly I wanted to create a solid label with solid artists. I didn't want to be one of these labels that ended up with 50 people on its roster, I wanted it to be a tight crew. This also meant that the artists got regular releases, rather then being number 20 in a waiting list.

As I'm sure most people know, I wasn't a massive fan of the whole 'brostep' or tear-out side of dubstep, so I wanted to be the label that remained true but still brought out future-sounding music. A lot of the other dubstep labels jumped aboard the tearout train and basically released anything they could, hoping for a number one in the charts (laughs).

As for the Daily Dose thing, MistaJam approached me to do it but at the time I couldn't because I was still on Rinse FM so it just became a Chestplate Daily Dose. That's now come to an end, but much respect to MistaJam and 1Xtra for having us be involved.

I still dont know how the Fabric thing happened, (laughs) the guys at Fabric are amazing though and very supportive. Every Chestplate takeover has been nuts: feels like the proper old vibes you got from the earlier dubstep raves.

H: Your back catalogue reveals what would appear to be a dedication to labels with a strong image in terms of the music, ideals and aesthetic that they want to represent: is this something you've always envisaged Chestplate as having? How important is it to you that your label be viewed as 'bag-on-sight'?

D: Definitely, and I want it to be one of those labels that people can trust enough to buy on sight and know that I don't just release tracks for the sake of it. Most of the tracks are ones which I've seen go off at a rave or had ravers tapping me on the shoulder and asking 'what the fuck is this?!' Some tracks just grab you and you don't why: they're the tracks I want to release! Nothing I do is based on hype, hype is exactly that: it's exciting for a very small moment and then it's gone, a bit like candles on a birthday cake. Most of the hype people see or believe to be real is actually bullshit and just a result of very good management.

H: Re-releasing 'Falling' on your own label after it had already been put out by a major label seemed a bold move: was it as simple a case as wanting to have the tune out there on vinyl as well as digital, or did you see it as an opportunity to direct a new audience towards Chestplate? How important is it to you that your music is released on vinyl?

D: I don't think it was released after, but if it was it wasn't deliberate: it was supposed to be at the same time. I pressed it because Island were not going to release it on vinyl so I offered as I thought it would have been really sad for 'Falling' and 'Malice' not to have been pressed. At that time 'Malice' was still a big underground tune in my set and some people were expecting to have it on vinyl, I still find it amazing that a label like Island released 'Malice'.

There was never a secret agenda though, no dreams of being best mates with the stars (laughs). The only reason 'Falling' got signed was because it was a big underground track that just-so-happened to work on a commercial level too.

H: Since Chestplate was established as a platform from which to release your own music, how easy or difficult was it to find new artists for the label who you felt were doing something new and original and yet still fitted, to some extent at least, with what the label already represented?

D: Well the main reason I started to sign new artists was because I was hearing new music which was amazing and yet no one wanted to release it. It all started with Tunnidge and '7 Breaths'! I just couldn't believe that no one had snatched it up and I just thought 'Fuck this! This is a sick tune and it has to come out!' I then heard music from an unknown guy called District and then later down the road Sleeper and Razor Rekta.

I just heard something very special in their music even though the mixdowns weren't great and they weren't super polished, they had a hold on me. I would have found it devastating if these guys never had a chance to get their beats out there. I'm sure so many producers at that time making deeper dubstep moved onto other sounds or became disheartened. If I'm honest, there were only a few labels which really kept dubstep interesting and kept things moving forwards; a lot of labels became lost chasing whatever sound seemed to be doing well commercially, and in the long term have completely lost their identity.

H: Finally, are there any forthcomings or anything else in the pipeline that you'd like to put the word out on?

D: My next release on Chestplate is out in May and that features 'Set You Free (feat. Stepa)' and, on the flip, 'Gorilla Force' Chestplate's next take over at Fabric is on the 24th of May. I'm also currently working on a vocalists album, which is almost finished, and even though it isn't really my project I can't wait for people to hear it.

Pinch and I are also in the thick of writing the first Deleted Scenes album and I can honestly say I've never felt this excited about a project before: next level beats!!!!!

Wednesday, 17 April 2013

After a little over three years of pushing free downloads and mixtapes, our friends over at FatKidOnFire have stepped up to deliver their first release proper in the form of the 'FKOFUn/Known01' compilation. Featuring twenty tracks split across two CDs, the release is aimed - as its title might suggest - as pushing the boundaries of what we consider to be dubstep, as well as showcasing new talent alongside some of the scene's more established names.

The compilation, for the most part, deals in dubstep: continuing the largely successful reclamation of the sound's deeper elements and pushing on with recent attempts to expand upon the half-step template through scattered hand percussion and off-kilter hats. Tunes such as Perverse's 'Hallidome', Percept's 'Reality' and BunZer0's 'Melancholy' revel in their focus on drums and each stand to make the point that 'stripped back' needn't necessarily 'mean half-step with sub-bass'. Gantz is, and has for a long time been, one of the best around at making this point and his inclusion on the release - 'Low Lands' being a real standout - thus serves as a strong reference point for what can be achieved within the ever-tighter confines of the 140 bracket. On a similar note, although arguably in a field of his own entirely, Ipman manages something quite outstanding with 'Flipmode' and its flurry or breaks, stabs and pulsating sub. That is not to say, however, that tunes such as Caski's 'Sandstone' or TMSV's remix of Thelem's 'Drones' fall flat because of their lurching half-step drum patterns: both have an immense attention to groove and move solidly as a result, themselves emphasising that there's still plenty of room between the kick and the snare for a good tune.

As far as the title's suggestion goes, there is plenty on offer in terms of new names to be met alongside the more-established artists and the likes of Nanobyte, FNC and Eleven8 - as well as a whole host of others - all make strong cases for themselves, each taking steps towards stamping their signature on the sound.

The release can be previewed via the promo mix below, which is available, along with a digital download of the CD contents, for free to anyone purchasing the physical release.

Thursday, 11 April 2013

For our fourth limited run of t-shirts we've collaborated with Manchester-based illustrator and friend of the blog, Will Berry of the Generic Greeting collective: the design has been hand-drawn by Will and screen-printed to premium, 100% cotton T-shirts.

Tuesday, 9 April 2013

The last time we spoke to Seven, just over a year ago, he was gearing up for the release of his debut long player and touring extensively, he spoke reflectively on his many years spent in the industry and the impressive back catalogue he had to show for it; so it fits well that the same themes be present in this, our second interview with the London-based producer/DJ. Not exactly the same though, as this time around his specific focus is something different; whilst continuing to work within the music industry, making plans for tours, and putting out a string of quality releases are all still part of the day-to-day, this time however it's based around the new label founded by Seven just a few months ago: Uprise Audio. Having quickly established a wide and passionate fan base - as evidenced in the results of this year's Dubstepforum Awards - the label has been taking strong strides, branching out comfortably into running label clubnights up and down the country whilst simultaneously sending each of its first three releases climbing the various singles charts. What's perhaps most clear, however, is the enormous amount of passion with which the label is run: it seems that this is the driving force behind Uprise, embodied in Seven himself, and has come to define the impressive levels of quality control and attention to detail which can be noted in all of the label's various exploits. It's this same passion that comes across in the interview below, and that can be heard throughout the mix which accompanies it; so all there is to do now is enjoy it, and share in it...

Hedmuk: Since you've already introduced yourself to us once before, can you tell us a bit about your record label and the sort of sound that you feel it represents?

Seven: My label is called Uprise Audio. We are based in the UK and we have a team of exclusive artists from the UK and all corners of the world. The label is run day to day by myself and my partner Verity J, with valuable input from our press manager Joe and art director Cimm. It's a vinyl and digital record label representing the future sounds of deep, dark and dangerous dubstep. The sound of the label is a serious one: there is nothing cheesy about it. It's all about forward-thinking music, intelligent grooves and serious bass weight and I have chosen tracks to release which I feel have theme and relevance to one another.

H: What was the inspiration behind the label? Was it a case of wanting somewhere to put out your own music and retain full creative control, or more to do with the amount of good music you were being sent and talent that you were discovering? Even the label's name, 'Uprise', would suggest a mission of bringing plenty of new names and material to the forefront.

S: You pretty much answer this question in your question: firstly it was a case of having some fantastic talent sending me music and seeing huge potential in them, like diamonds which needed cutting into fine stones. Originally the plan was to hand the tracks to Black Box or Wheel & Deal in hope of getting them signed and looked after, but there wasn't an opportunity for that at the time and i didn't wanna let the guys down so I decided to start a label and put the tunes out myself. I realised how much creative control I could have over it all too: I could really shape the sound of the label by putting the effort into the artists I signed; and I have a serious team of individuals now, each with their unique sounds but all relevant to the sound of the label. I guess the name does suggest a mission, I never really thought about that when I named the label but it's kind of fitting to the rapid progression of the artists and the label though. 'Onwards and upwards' seems to be our motto at Uprise.

H: With the label already on its third release, and having brought forward two relatively unheard of names, are there plans to extend the label's roster further or are you comfortable moving on with just the four or five already signed for now?

S: I've been building quite a team of artists. I have signed new people which have not even had a release yet, who absolutely blow me away with every track they send me. I can confirm my team of artists as the following: Dubtek, Chewie, Asylum, Nanobyte, Wayfarer, Spec, Taiko and Quantum Soul. All these guys will be featuring tracks on the label this year. They are all set to make some serious waves too, I have been overwhelmed by incredible music and they make it difficult for me to choose which tracks to put out because the level of quality is so high.

H: We spoke previously about how you go about balancing your time between producing and DJing all over the world, how considerably have you had to redress this balance now to include label work?

S: I've taken a lot of time out from deejaying since returning from Outlook. This period from then until now is actually the longest I have been in the UK for years, I realised I had been constantly touring all over without really regrouping. When the label was conceived I knew that I needed to focus on it for a while and live in a normal time zone, so I have been putting every other spare moment into the label, the artists and the management of my own key area, which is A&R. Once things started to become formulated and in a system I knew I would have some time back and that I needed to get back in the studio too and make some tracks so I could lead by example. I did all of the above and it's done me the world of good, I reinforced my sound and production techniques, built up a good sample library and all that combined with this new vision I have has improved my tracks a lot. I have started taking bookings again now so I guess the true test is yet to come but, being a libra, balancing life is my forté.

H: Do you feel that your experience as a DJ, and constructing sets which can traverse a series of different moods, has helped when it comes to thinking of the overall impression of the label and the diversity of sounds and approaches it can represent?

S: Yeah, no doubt: I wouldn't put out music I didn't feel confident playing in my sets. The tunes my artists were handing me initially were relevant to my own productions and I felt my sets were more rounded as a result of that. I had already started building the Uprise Audio sound in the sets that I was playing, and even more so now: 70% of my sets now are UA tracks. I feel so blessed to be playing such wonderful exclusive music and being able to share that with you all and confidently tell you that it will be released, because it's me who is releasing it and makes those decisions.

H: How important is it to you, particularly considering your own extensive back catalogue, that the label be considered a well-respected label, whose direction the fans can trust? Is releasing on vinyl as well as digital a part of this too, would you say?

S: It means everything to me for the label to be well respected. I strive to make sure we do everything how it should be done: no corners cut and above all tight quality control, both in the music and the physical product itself. We master our music with Beau at Ten Eight Seven Mastering, we press at Optimal in Germany and we distribute efficiently through SRD. Like I said: no corners cut, quality control is everything. It costs us more, but we believe it's worth it.
I think there is more to running a record label than just putting out music too, at Uprise we have created a brand, a collective and an interaction with our fan-base through club night events, radio shows and merchandise. We manage our artists and also manage any bookings they need attended to. I think these things are the very least a record label can be doing.

The vinyl releases are a big thing for to me too. I think it's what sets labels apart from each other nowadays and also what makes people have faith in what you put out. It costs a lot of money to press vinyl, and especially for such small quantities like we do now - compared to, say, 15 years ago. So people know if you're going to be putting that much time and investment into a release then you're going to make sure it's worthy of the time, money and effort and the fans will then have faith in what you do.

H: Despite only being a few months young, you've already put on a selection of label-based clubnights: is this live aspect of the label something you consider to be particularly significant?

S: We started off with the intention of running just two launch parties to establish the brand and label and put it in public focus. One being in Verity's local area Nottingham and one in London, my usual playground. We considered it as advertising and all part of the start-up budget, but we had such an amazing reaction to them and people kept asking when the next one will be, so we decided to carry on with the momentum. It's proved to be really worth it, it solidifies our following and gives people a night out to remember us by. I think it also shows yet more depth to the label and what we have going on too, so we decided it's a positive thing for us to continue doing and as long as people demand them then we will keep doing them. We have had so many promoters asking us if they can use our brand and book our DJs to throw UA-themed parties so we will announce all those dates in the near future as it's now almost become a UK- and Europe-wide label tour. All of my artists are actually good DJs too, which I think contributes massively to the atmosphere and vibe on the nights we put on: no line-up fillers, just good DJs. We try and keep the costs of entry to a minimum too, as it's not about trying to earn money putting on the night. Our first two events were actually free entry and the one following that was only a pound.

H: Take us through how you approached the mix you've put together for us.S: I've done so many mixes lately, but I saved some killers for this one. All of my artists feature on this mix, so it's an introduction to us, who we are and what we do as a collective. I have also included tracks by friends in the scene who are also making some incredible music which is blowing me away right now. It starts of really energetic, and caters for a full spectrum of listeners: my definitive journey through the deep, dark and dangerous sounds of dubstep.

H: Finally, what can people expect from Uprise in the near future: any forthcoming releases or label nights on the horizon that you'd like to put the word out on?

S: The latest release is by myself and is 'Walter White' backed with 'Medievil'. It went straight to number 1 in the vinyl chart and has since conquered all the digital charts too, hitting the number 1 spot everywhere. There's also a digital bonus track with the release called 'Tension Builds', included for free if you buy the vinyl or the whole release as a digital bundle. I decided to do that as a thank you to everyone who buys the vinyl and never gets a bonus track, but naturally I honour the same deal for people who buy the digital bundle too.

The following release UA004 will be a 2 x 12" double-pack consisting of 5 tracks: 'Go To War' by myself, 'Shaman' by Wayfarer, 'Underworld' by Quantum Soul, 'Primitive' by Chewie and Dubtek and 'Lost Souls' by Klax and Disonata. It's highly anticipated and has been battered by Youngsta exclusively for the past few months now, creating some very special moments at events like System and getting numerous wheel-ups on Rinse FM too. It will be available late April/early May.

We also have another UA event on April 27th at The Volks in Brighton. The line-up is Youngsta, myself, Quantum Soul, Nanobyte, Klax, Occult, Sibla, Duku, Toast MC and Joe Raygun. It's going to be a good night, and we are bringing in a 30KW sound system!

I'd also like to give a massive shout to Youngsta, Verity J, Cimm, Joe Raygun, Dubtek, Chewie, Asylum, Nanobyte, Wayfarer, Spec, Quantum Soul, Taiko, Toast, Truth, Klax, Disonata, Genetix, Nicole Submission and all the fam, Calico, Ken and Ryan, SRD, Beau Thomas, and last but not least my mum and everyone else I forgot to list here. To book UA artists or events just contact Verity at contact@upriseaudio.com

The release itself sets a new benchmark for the MUV imprint, and for Catacombs too as 'Music Mi Luv' and 'Badman Culture Pt. 2' show the young producer relishing a newfound energy and pleasure in rhythmic expansion, with the former's perfectly-levelled bob and weave and the latter's quick step and dark techno aesthetic. That both beats have been go-to tunes for two of dubstep's foundational DJs, Hatcha and Youngsta, is a testament to the balance they strike between defining a current sound and giving a nod to its future. 'Cursed' and 'Searcher', both collaborations with label head Demon, combine Catacombs enormous kicks and precise sense of atmosphere and movement with Demon's penchant for razor-sharp Reese basslines.

To be in with a chance of winning, simply head over to the Hedmuk Facebook Page, share this image publicly, and leave a comment as to which size of T-shirt you'd like to receive. The competition will close on Friday the 19th of April, on which date a winner will be selected at random by an independent third party and then announced via Facebook and Twitter.

Catacombs - MUV005 is set for release in late April/early May, with 'Searcher' available as a bonus track on the digital release.

Monday, 1 April 2013

A tune debuted last year as the closeout to his Hedmuk Exclusive Mix, Wayfarer's 'Fall Of The Zulu VIP' took the original's startling percussion and gave it a whole new roll with an added flurry of drum hits and twisted mid-range; the tune quickly became one of the young producer's most sought-after dubplates, occupying pride of place in the bags of a very select few DJs. However, without any plans for an official release, and with a corrupt Logic project file making that end seem even less likely, we were surprised and delighted in equal measure when the Notts producer hit us up to host the track as a free download. So grab the tune for free below and, healthy project files withstanding, keep an eye out for some Wayfarer wax hitting the shelves soon.